(MSW) BOOK RECOMS 56 ; 'Heavy Shells...'

 Or ; BK RECS 56 [Pt II.] - ...ever having Wondered why she'd labor during the Night(s) ?

“Horace must accurately portray a widespread modern phenomenon, since this book has made me a dozen dyes-in-the-wool enemies. People I don't even know claim to recognize themselves in the characters, and hate me to death for the cruel way I unmasked them. I repeat here what I said in the first preface: no one posed when I sketched this portrait. I took it from everywhere and nowhere, ... I proved nothing, one proves nothing with stories, not even true ones; but good people have consciences that bolster them, and it's for them above all that I wrote this book, in which so much malice has been perceived. They do me too much honor: I would much rather belong to the poorer class of suckers than the more illustrious one of the jokers.” ; (George Sand), on 'Notice', a 1852 foreword to Horace.

;

“[the novel] ...was considered so politically scandalous when it was written at the begining of the 1840s that her publisher refused to print it. This might help explain why Horace has remained untranslated for over 150 years. Try to imagine this in the England of Oliver Twist, Vanity Fair, and Wuthering Heights, novels published in the same decade that gave birth to Horace. This book is far ahead of those classics in its social thinking. In those English novels, the need for major social upheaval is merely a background rumbling. But in Horace, a revolutionary transformation of society is the subject on the table for discussion. ...” ; (Rogow) from 'Translator's Introduction' at Horace's -95 edition (Mercury books.)

(Pic, above) - From Crepax's 'Rembrandt and the Witches', Valentina-story from the 1977.
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; “...William Wells Brown's Clotel, or, the President's Daughter (1853), which is, as far as we know, the first novel published by an African-American. As a 'first' it has achieved a monumental status... According to my check of the Books in print database on June 1, 2006, there are currently eight different editions of Clotel in print, including new editions from Penguin and Dover, compared to nine editions of what are by my count Brown's fifteen other works, not including his numerous speeches essays, and various editions and republications of his books... Prior to Clotel Brown published Narrative of William W. Brown (1847); A lecture Delivered before the Female Anti-Slavery Society of Salon (1847); A Description of William Well's Brown's Original Panoramic views of the Scenes in the Life of an American Slave (1850), which in fascinating ways links word and image; ...unusual travel narrative Three Years in Europe (1852). After Clotel, Brown published three considerably revised and reconceived versions of the novel, Miralda; or, The Beautiful Quadron (1860-61), Clotelle: A tale of Southwern States (1864), and Clotelle; or, the Colored Heroine (1867); a more expansive narrative of his travels in Europe, The American Fugitive in Europe (1855); a play, The Escape (1858); numerous speeches... ; memoirs and autobiographical narratives such as Memoir of William Wells Brown (1859) and My Southern Home (1880), and several histories, including The Black Man (1863) and the Rising Son (1874). ...

This is not to say that Clotel does not deserve our close attention. But the evidence suggests that Brown saw it as but one of many texts in an ongoing literary and political career, a novel that, as is true for all his writings, continues to speak to us beyond the confines of its historical moment but was nonetheless a rhetorical performance that had a particular purpose at a particular time and place, 1853 London, where the novel was published. ...” (Levine), of 'Monuments and careers; teaching William Wells Brown, Martin Delany, and Their Contemporaries' on Beyond Douglas (p.157-8 ; book a 'compile' of articles, ed. Drexler and White)

The Recoms: 

Les Bijoux Indiscreets

(The Indiscreet Toys)

(by Denis Diderot)

; (,p. 1749, 190 p.)

Indiana

by George Sand

(Amandine Aurore Lucile Dupin, 'marques' Dudevant, 1804-1876)

(Orig, 1832 ; 271 p.)

Clarimonde

by Théophile Gautier (, 1811-1872)

(A short-story/novella)

  --------------

; Series views-points on Commonwealths, Literatures...

Any jokers, 'mooters' and, well...cookers are naturally asided to any these views. And the main part from it, at this latter sequel, post (the actual Recoms)  - Should then appear devoted 'explicitly' on the said books and short-story. IOW, at this 'chapter' the selections from the richer plentitude, wide variety belles lettres from a 1700ian and 1800ian fiction. Almost explicitly from devoted to those - Let us say so, just in case, well, in case from anything. ; Anyone, of course, easily may notice that a 'Sandian part' forms the major portion on this. Only hoping it still fits for any limits I kind of framed this by any origins - As the former 'part' already did prolong itself – almost unintentionally – on such variety any topics addressed on, to the words rather exhaustively used (on it.)

...I make a passing mention on that major part pics accompanying this continue being selected of those Valentina-comics (Crepax.) However, on writing the sequels some my garden-sowings seemed from emerged to flowering, so here and there maybe also a few pics of those too. Or, of some other decoratives, for 'wild' plants, perhaps. (; And, well, despite the said 'purpose' this even enlargened bit more - As I chose for add a few 'chapters' on Martin Delany and of a few other aspects. Just from not of tiring myself to any too excessive amount. Some variety, various topics often keeps one more refreshed, sort of a reason to...)  

 -----------

; ...Nothing much for an 'uttermost' important we're to these remarkings from – Or, let that mean, rather, we've probably said all that'd be of major important from cons  George Sand, already before. At earlier presented from. I kind of find the subject (/Authoress) to the topic from quite decently discussed elsewhere too, even without my any writings. As well is (some) on whose books we're having to admit for being, say, quite 'indecently' but still for equally very inadequate familiar from. So, not so much to add on 'anything' already discoverable via some other 'channel' for an information. That meaning, I've only read about a fewsome her novels, maybe variably other texts in addit to that, yet most those too of the fiction part. Trying then on followed remain for short-worded as possible...

The above mentioned massive productivity – smght like near counted for 90 her penned novels during the lifetime (,if also some to 'shorter pieces' from containing) – actually doesn't appear represent anything so exceptional on an 1800ian author. While, of course, is quite plenty, much. A close contemporary (and also one for her critics, by the times), Balzac, did wrote near similar vast amount fictions. During somewhat shorter a time-gap, having died decades younger. - And even if the majority from Balzac's books, such as those by Sand, by this day is largely forgotten. In fact, one discovers there much in common between those two – Besides the differences. (Balzac sometimes 'credited' for an originator to the 1800s realisms, and most for Sand's creations too, at least used for be, 'classified' to a realistic fictions. ; For any differences one might, obviously, find Balzac more for an old-world ('patriarchaist') royalist, while Sand's some leanings seem reach on such modern ideas as the 'equality, fraternity, liberties'. 
And, such as meant here little from described, even 'messed with' some 'earliest' 1800ian social-/socialistic ('marxian') -movements. Or, if that would slight exaggerate, perhaps it just as descriptive to say that her prose on those some early novels lot reflecting the social revolutionary 'themes' and efforts being 'in the air' during the years from her youth. Some she also personally took part, simultaneous or before from writing (those) novels. 
 

(Pic) - On the right: Young George Sand (probably) around the time by 1837, nearby the years that Horace would then depict (, If recolling the year by correct.) ; Drawing is from via Winegarten (2003; 113.)
; ...On Sand's manners of 'schocking' her contemporaries, Finch (2000, p. 83) seems, fx, from wrote: "...it was more for 'life-style' decisions (open liaisons, men's clothes, smoking) than for head-on clashes with the ruling elites of the time. ... Sand's output spanned...from Indiana, published in 1832, ...into the Third Republic, with the publication of new works in 1871 and 1875, year before her death." 

One may then addit for that, (that) as usual for any novelists the majority from works aren't then quite of a same quality as a few to the most appreciated. (To their any latter 'legacy', 'legacies' considering from, or considered to a part at that.) Actually, it being also said that to her latter years the novels on any quality were less noteworth, less inventive, w. the more standardised plots and character types merely populating those. (Acc. Maurois) - due from the reasons that 'marquesse´ ('Dudevant', Sand) having from gotten herself over-worked – Nights through, acc. her regular working routine by those late years, having also been obliged of to produce those works in a steady line for being able pay any debts that accumulated from the keepin' her country 'mansion' (Nohant). ...Plus from providing an 'avantgardist' lifes and 'social circle' to her number younger generation admirers and, well, maybe w. the social 'flies' from maintained, too. Although, her 'way-of-life' seems never claimed any overt luxurious.
 

; But all that of course not actually very meaningful.(Think that still worth a mention, though I've merely gathered these mentions on backgrounds for her better novels. – Some that are then shortly referred on the few examples presented, in what follows.) ...Another significant reason us not go on any Sand's life details and 'detaljs' on these views (is) that seems it from since 1970s, about, at least, there been - 'sort from' - increased massive rediscovery about Sand as a 'forerunner' to feminism. Number from biographies seems then written on her, while the most intensive 'fashion' may nowadays from gone past. (Some those maybe well very good, and some perhaps from less worth of more careful look, 'easy suppose'. But I've not fx read any those, only read that now for lot aged (,1950s) bio by Andre Maurois, since it was quite easily available – And not proved any too massive from briefly 'glanced' through.)

; So, I kind of think that Mdme Dudevant's fame in the eyes by her contemporaries – and later estimates to those more modern feminist biographers - well exceeds any minor readings' from mine made prior this. From a second thought, assuming I might even discover something that'd appear of contradict about her, by some time now, 'emerged' legend(s) even.

; From Indiana (p. 1832), here selected, for some overall details, shortly: Seems (it) also been the first novel by her own writing, from completely and solely. (It was earliest published with even more 'obscuring' pseudonym: Under the 'name' G.Sand. Two her earlier novels had been co-authored w. a male 'attractant', Jules Sandeau – Of whose mistress she's said for had become nearby that timing. (Acc. that – those 'legacies', and well, quite assurable life-details, repeatedly 'parsed' by her several biographies - at least ever since that Maurois's bio – from Sandeau she'd also adapted her still so famous 'pen-name'.) ; But, like said, about Sand's life-details/bio, to this it shall suffice what was to preceded remarked. (Too popularly 'cartographed' an issue for me, well before any this timing.)

; ...Yet, by the way, Maurice – if I recall correctly that for the name – Sand's son, seems from hobbied/practiced the entomology. Something which was increasing in any popularity, on it's 'early years', within the advances at natural sciences, and, -history during midst that 1800s. As an early Darwinism, fx, was then emerging, or makinf some 'early steps', esp., on during the Sand's latest decades. Sand's letters also have the occasional mention to such collecting and observance about insects on the nearby meadows, fields next to that 'country mansion' of hers. Of course, that not either so exclusively particular or unusual from noted. But amongst the 'bourgeoisie' still wasn't too common from the 'trait' - As anything like isn't, even today, one would guess. And even if by herself she'd only for observantly, from the curiousity would, occasional, 'participated'.

And, the novel then – Indiana as the main choice here – it can't be avoidedsay/noticed that for any choice must appear the one from most contradicting. From a view-point the book having enjoyed by lately the largest popularity of her any novels, that quite obviously makes the selection merely a more 'standard' for choice. Would've we chosen to a more...boring a choice, therefore ? Yet, on the other hand, at least a novel certainly is worth for it's lately lot enjoyed appreciation. Was so already to it's own times as fx Saint-Beuve. (Henri de, ...supposin' ?) some to Sand's influential contemporary critics - And a mistrusted 'friend', adviser (Such as we find Maurois for remarked) - seems judged that early piece to the important novel. But, not from 'any masterpiece' as also said on that contempory review from it. Anycase, in short, seems the book already by it's publication enjoyed quite wide 'reading publics'.

...Those reception histories then telling also the most 'general views' for had placed that on a 'category' from romanticism. - While Sand's any later creations seem provided her a place in the similarly limiting category from 'realism'. Not that either 'stamp' would be very well descriptive to her manner of writing, I think. (In that Nineteenth-century literary circles, reflecting some all-through 'male-discourse', or, from filled by that masculine 'genius-myth', her writings many qualities may appear for had reflected far more 'nuances'. At least those few termings do feel rather limiting on Sand's case.)

“Despite Sand's strategically placed disclaimer [means that, her denial of any '...recourse to prettifying visual aids of idealism' (something that Balzac had suggested for her to the female novelist's, or more generally, as a 'woman's job'. ], idealism and not realism came to be her preferred and distinctive aesthetic mode. Hence, just as it is impossible to write about Balzac without writing about realism, no analysis, let alone re-evaluation of Sand's work can proceed without taking account of her idealism, idealism being understood here both heightening of an essential characteristic (the pretty and the beautiful, but also the ugly and the stupid), and the promotion of a higher good (freedom, equality, spiritual love). However, so imbricated are realism and idealism at the outset, so great the influence of Balzac on his peers, that Sand did not come on the literary scene as an idealist in full possession of her aesthetic vision. Indiana records the difficult emergence of Sandian idealism from the realist paradigm constituted by Balzacian realism.

Given this state of affairs it is not surprising that Indiana opens with a tableau whose realist insignia are so glaring that as to have fooled Sand's curmudgeonly mentor, Henri de Latouche. ...he exclaimed: 'Well! It's a pastiche, school of Balzac. ...' It was only after... reading the entire manuscript that he recognized the novel's originality, and even it's superiority to the chief representatives of the realist school: 'Balzac and Merimée lie dead under Indiana.' ...“ ; From 'Introduction' to Indiana's -94 edition (by Schor; p. xii.)

(Naturally I've nothing to object, what said at that by Schor.) 
; Shortest said best still, and so seems that the Sand's place amongst the 1800ian major literary 'renowns' from well-earned. Especially, as I think, due because from how it often feels rather difficult to try from categorizing her some (better) novels to any of these genres. (Romantical, realistic, even that 'idealism' some sort of a category. As the other practical term, from quite 'humane novels' those being, fx, very apparently. Or would feels as good a definition as any other category.) 

; And well, yes, then we have to mention of that (Prosper) Merimée... - Brings on mind when, somewhat earlier, considered that equally famous, equally sensuelt named Carmén amongst the selections (recoms) on this sequel. But, then even w. a recognition that despite the novella's rather powerful plot and resemblant tensions from, 'slighly simile' w. the Indiana's ethnic and erotic 'strives' from - I did also recognize that the Mérimée's manner for a more typical, the regular 'racial schematizations' of his times. Soforth, decided then from drop that of this. (...The reasons for that that Rachilde not either features, were maybe from more complex - I care not go for those. Not on these 'limits'...) 

(pic) - Below. From Crepax's Valentina-comics also. ; 'The Force of Gravity' (On the 2nd vol. to those recent compiles of...) 
; ...An 'Introduction' (Barbara Uhlig) to the 3rd compilation of Crepax's works - 'Evil Spells', of which most part these Valentina-stories pics from - seems provide us the following sentences, ao; 'His [Crepax's] understanding of feminism was, however, quite modern. He created a sensual yet confident and sexually liberated protagonist who willingly submitted in the various scenarios Crepax set up for her. Most of her erotic adventures took place in poetic, intoxicating dream sequences that were as mesmerizing as they were unfathomable.' - Quite so I've also noted, Crepax's Valentina stories or his drawing 'style' - practically - finds no comparison on most other 'fashioned' -60s, 70s comics. Actually, possibly, no other does represent their main heroines - that several 'comparables' featuring - from similarly independent, unquestioned sole 'protagonist' for the story. (But, of course, it mostly about Valentina dreaming, while the '...scenes set in real life form a strong contrast to the dream sequences.' ; ...etc, of to mention...) 

; Yet, sometimes also thought that 'Social novels' would feel quit fitting a term about Sand's many writings – Or at least on those (few) reads of mine. ...But that then also would brought for mind a number other female 'contemporaries', sorts like; Gaskell, Austin, Maria Edgeworth, Brontes (Anne esp.) - IOW, none from those making any good comparison with her. ; At least feels to me so – Some definitions for 'contrasts' maybe appear more descriptive: Gaskell (similar in an interest for her modern social 'themes', perhaps, while more 'standard' 'philanthropic' – And, apparently more from (interest, sympathy) on a working 'class-conscient' than w. the interest for any socialist, revolutionistic ideas for. Neither perhaps with quite similar modern 'tolerance', or any 'classy parlances' with. ....'suppose. Or maybe I'm just mistaken, having barely paged few her novels from...) ; Austin (middle-upper class feminine 'subjects', from the 'most part'. Any actual 'class-conscience', only, 'readable from between the lines' – No wonder, I think, Austin seems then remained in favor by much of an 'old school' (male) established criticisms and...but nevermind 'bout that.) ; Edgeworth I've not read (but she also did write much earlier, former century, on an 'era' more to the past.) ; And, Brontes (Well...in fact, I think both Charlotte and Anne reflect, more cautiously, but somewhat resemblantly - sometimes having even (relative) 'modern” characteristics on their works – But the milieu to their novels are set is quite different. Besides, both wrote less due for having died so young. ; Charlotte's 'rebellious' Jane Eyre used of gain the most attentions to any it's modern interpretations about that century's “caged animal”-theme from. Or, that famous 'mad-woman in the attic' – Or, the '...female yahoo in her foul den', acc. the Showalter's terming. ...Yet, feels it too, to me, from quite correct if stated that from influenced/recognized by the male literary 'associates, or 'literary circles', probably later onwards did have negative effect her followed creations.)

...Like was noted priorly, that Balzac then feels, many ways, for the lot more closer as a writer. Even if he'd actually reflect the more usual characteristics for the 1800ian realism. (Having, at least partly, created 'the discourse'. Also must've served, partly, to Sand's some 'mentor'.) ; Former remarks not even meant for any discredit of those mentioned. Any (literary) tastes may be quite individuelt. Largely, seems still to me, her fame by our times may have also gained for better, 'cause her books of their very content and “technique” indeed seem appeared considerably more modern to most others mentioned. ; And besides, on this kind comparison (w. some her contemporaries, ) any French novelists, instead of those Briton some by my few reads, would've been more in place here. However, most to her strictest contemporaries appear to a lot less renown. And so that too seems remain well beyond my any 'capabilities'. ; And thenagain, ...perhaps it being quite as notable, only as much from correct said that (several) to those Sand's 'late years' novels perhaps simply appeared bad - As the times had 'passed by' on her most flourishing periods, like often the case. I suppose the 'other material' of those years for being to the more rewarding. (From had read 'few bits' of the correspondences, mainly.) 

  

Cons Indiana as a literature piece, those references for the 'tropical paradises', their 'isolation' (of the novel's 'creole' heroine, and 'hero') - Much in that appears have had lot influencings from some modified “Rousseauisms”, acc. my minding - Rather lot there what seems of bear certain resemblance on the fictions by another one to our earlier recommends, namely that French novelist Bernardin Sainte-Pierre. Also, the Corinne from Stael's writing (1807) almost automatically comes for mind. While these 'reminders' not w. any very direct resemblant – Sand's writing, already on Indiana, to many it's details – like said – feels for a level more modern. But at least it worth pointed that on the Staél's novel too, the set 'environment' (like on last chapters from Indiana) being 'shifted' on a more 'tropical' region - Even if that to it's case no more distant place, that is, the Rome. 
; Some part the aspects making that Indiana by anycase a quite 'nice blend' to the 1800ian novel.

...Also, (that Indiana) the selection instead of a lot less renown Horace. (On that in the following, a few remarks...) Mainly of the reason that Indiana's language still seems to have bit more the nuances and some 'stylising' inherited from then, at the time, already passing romantic literatures. And that emerging 'favored' realism appears merely to it's details, therefore – In case we'd then favor to 'stamp' Sand's writing w. that, instead of an apparently more applicable ('ungeneric') term prior noted, the 'idealism'. (Which maybe some ways similarly problematic on uses, suppose'.) ; So you could find possibly, fx, for the book's main 'novelties', or qualities, that it's for a feminine, socially daring ('relatively' so, in the 'limits' by her century), and also rather 'merciless' piece-of-fictions. (...Merciless from a level from how that 'reveals' and 'hits' the concealed moral for it's very patriarchaist era, as well avoids and makes uses of much of the schematisations at the more 'canonized' literatures of that time). And...well it's, has to be admitted, it being a very romantical novel too. ; Yet (also has to be said) you fx, exactly not recognize there in that book any typically 1800ian class and race-barriers from collapsing...But at least it effectively succeeds for dug in the foundational basis under from those. That sense too, can't avoid from (already said so) notice to had found her novel(s) from surprising modern books.

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(Pic, below) ; From Crepax's 'The mystery of Marie Roguet' (publ. at -67. Also, a part from the 'Three Gialli', a serie Crepax wrote/drawn based on the Edgar Allan Poe's 1800ian detective/crime/ 'horror-eroticized' short-stories.)  

'A dangerous woman'...perhaps? Or, a 'bad surrogate' (wife)... ; Of course, the romantic plot(s) seem still after that played the very characteristic, essential role on her many novels. Remove the accompanying historical 'social contents' and those some 'unmerciful' descriptions addressed on an upstart name-person for the other novel here briefly viewed. (Horace, f.p. 1841-2, serialised at Revue independante): And you basically have to it w. the social themes enweighed romance, w. a 'relative' regular plot. (However, and what to the more interesting, the said 'cut outs' also would seem for eliminate that novel's content for a barest minimum. Of the book itself there then would appear 'left' only it's skeletal structure, or that 'simple romantic' plot.) Her main intentions on the writing then, or from it's any meant influencing, may appear been elsewhere than at the 'domestic social issues'. - Which of course also not making Horace any less interesting for a novel. More to the contrary. I think it as some 'landscape' to a certain historical timing – while fictional, it to several occasions said basing on 'actually' witnessed scenes – the space between of descriptions certainly makes everything else more worth to that 'little role' given on it's social-romantic 'plot'. 
 

Those impressions, in some sense, actually resultantly only gain of any weaknesses on it's plot. Or, those 'conventionalisms' on the story, by any modern reading. The truth being said, the ending is rather weak – but again it too very 'humane'. And, furthermore, Sand's own contemporaries wouldn't probably found it from near similarly simplified, or 'embarrassing'.  (From having more direct recognized it's connections to the present politics, etc...)

(Pic) ; Below. (...Of Kennedy's 'Strange Nation'. Acc the text it's a contemporary (1831) caricature for the Horace's timing, drawn by Honoré Daumier. - Acc the pic-text (that) said depicting the king (Louis Philippe) '...as the Rabelaisian monster 'Gargantua', consuming the national wealth as had his Bourbon predecessors.' ; The adjacent pages then - from describin' Cooper's observation on his European 'tour', years - give the impression that on our former chapters featured (contemporary) caricature about the "King Andrew's" reign wasn't the sole one portrayed 'despot', from 'capturing' the considerable reactionism to those years (around) the 1820,1830s. (At France's case, the revolutions and 'worker rebellions' followed from each other well until the 1870s, least.) 

...But I wish to not go on too burdening lenghts from it's description. (A novel as well, likeliest, also is nowadays well better known than several others to her writings.) Actually I need not to. 'Comparably' from the Rogow's foreword to the -95 edit., one that I read the novel from, seems give for details of the situation and 'circumstances' on it:

“...novel takes place in 1832, during a decade when France was the center of flowering of unprecedented radical ideas. ...the July days marked the long-overdue end of Charles X's reign, the revolt ended in a compromises that allowed Louis Philippe, the Duke of Orleans and Charles X's cousin, to assume the throne as the so-called Citizen King. Louis Philippe ruled over a constitutional monarchy in which, conveniently, the only people who could vote were males owening substantial amounts of property (and they made up less than one percent of this nation of thirty million people.) The new monarchy fed its policies right to the rising industrialists. ...

The discontent of the French Left produced an explosion of ideas on how to rebuild a society. ...

...The Saint-Merry revolt leads directly to one of the dramatic climaxes of Horace, just as it does in Victor Hugo's Les Miserables, published twenty years later. Sand witnessed firsthand the results of the violent supression of this rebellion, since from the windows of her Paris apartment she could see the entrance to the city morgues.” ('Translators introduction' ; p. vii, viii)

...In addit for that, on the said 'foreword' seems there remarked on it's some 'real-life' models characters from followingly: “One other reason Horace created such a scandal at the time of its publication was that several of the characters were based on people whom George Sand knew.” (...Casting some significant doubt on Sand's own several denials to any 'key-novel' features cons her said creation.) ; Even so, feels it to this purpose more important not much underlined for an aspect. Since, by anycase, Horace's major qualities are elsewhere. Even if some it's nasty descriptions from the lifestyles and cynical social 'careerist' depicted – or, more general from that 'reigning' upper bourgeoise class - rather seamlessly also adjoin the novels social historic 'themes' with the described 'milieu', the time it set from.

Additionally to a subordinate mention – or, for some 'footnote' on this novel described (Horace) and it's important place on developments by Sand's 'social thinking' – we can then fx cite a bit from Winegarten's writing on the Sand's reactions to latter coup d'etat made by Prince President Louis Napoleon Bonaparte ('the second', after his more famous uncle) on Dec. 2, 1852. - Ie, the events timing for well ten years after the publication from that Horace.(Which itself, yet, had described incidents from by ten years before it's publication, 1840s). But from briefest cited we learn that: “[After that said 'coup', had] ...put an end to the Second Republic, many were being deported to penal servitude in Algeria or Cayenne, sometimes never to return. ...

[...]

George had had some contact with Louis Napoleon years before when he sent her his reflections on the extinction of poverty. She knew that he had made use of the Republic in order to destroy it. When elected president in December 1848, Louis Napoleon had sworn to uphold the constitution of the republic and he had seized power in a militaristic coup. The indiscriminate fusillades in the days that followed were largely unprovoked, for there was little resistance among the population. They left hundreds of corpses. Nonetheless the majority of voters approved the coup in the plebiscite. No wonder George was disillusioned with the people. ...”; p. 229-230, on 'George Sand: The Struggle with Class' (Accursed Politics, 2003.) 

 (Pic) - Below. ...From (Of that Crepax's 'Mystery of Marie Roguet', -67).

; Given the 'high ideals', often socially 'revolutionarist' themes of her that book, the reaction by Sand to that 'coup' (that she not openly opposed the recreation of an anti-democratic, 'empirial' governance, nor the mentioned incidents), seems then said lot from disappointed her contemporaries. (Some historical thinkers on whom she fx on a few occasion at Horace refers from name are Saint-Simon, and Charles Fourier - Both french early “socialistic”/social 'planners' whose some ideas much on the early 'passages' that Horace also is devoted. - Or, at least those are the most sociopolitical impressive 'sequels' at it's early pages.) ; Yet, briefly put, from little interpreting Winegarten's subsequent notings for the cited it emergin that 'Sand's long struggle with the subject of class', w. of prior noted social ideas to her writing, sort from, seemed from 'diminish' towards her later years. And she seems then instead of offering her direct political opinions from expressed chosen from 'play the grande dame', and to had had 'inspire involuntary respect' (; more particularly on the p. 228-232, at above mentioned article.)

But of Horace's the better parts at the novel are lot like the reader from being put 'to the midst' of those incidents – by 1830s (not that 1852) – While both by now generally, mostly quite little remembered history. Of course, to these notings it seems appear somewhat lot bit in comparison with the Hugo's Les Miserables (I've only seen that in on film, not read.) Yet, w. a lot less from assurances/'compromises' allowed to an 'all-pacifying' mercifulness from the God's part. (For some escape, or to it's 'solution'.) ...Somehow for 'sealing' that up on it's end. ...And you sort of have the feel like (there) a Bakuninian-nearing anarchistic exclamations even, some only a few steps away of the authors any 'grasping' on the view for real importance to it's presented historical moment. Although, obviously, those never exactly emerge for make place on that description. So, is there ('even') some actual class-conscient in place for those parts at novel? Certainly, we also seem to notice.

[Addit; 12.03.2020] 
; ...Perhaps very relevant to mention, relate from - And perhaps not just that necessary describing these 'historical continuations' (,to this connection). But, from further reads on that Takeda, 2018 (Mme De Staèl and Political Liberalism in France.)...Seems of permit us to provide within a fewsome more quotations, which selected on below this point. Some to further 'explain' the backgrounds' on the mentioned Second Empire: Mainly, say, from concerning the aspect(s) that there were also political 'advances' during the said oppressive reign by Napoleon the Third (, who having come for power after the said militaristic, and brutal 'Coup by his making, such as it also was by prior mentioned.) - Ie, on that period postward of that famous year, 1848. ; So, on p.222, Takeda fx seems writing:

"...Napoleon III's approach to local liberty symbolically diverged from that of his uncle such that the former maintained democratic expression of local liberty as left by the Second Republic. After the general councils were elected by restrictive suffrage in 1833, election by universal suffrage for general councils was instituted by the repuclicans of the Second Repuclic on July 3, 1848. Although Napoleon III curtailed the power of the general councils, he maintained the democratic solution of the Second Republic to adopt universal suffrage, including national and local elections. [...leading Takeda also for to 'conclude' in same paragraph, that:]  At this stage, the second emperor was in line with Staél's idea of local administrative liberty, even though he disagreed with legislative liberty, at least in the first decade of his reign." 

...Among other 'advances' (...and, not excluding in below mentioned 'setbacks' to those), during that Second Empire also took place more democratizing development, such as on voting:

"..., all males over the age of twenty-one with at least six months of residence in the commune were given the right to vote in both legislative and local elections. It is true that no fair and free elections existed under the Second Empire. In addition to the system of official candidates, the emperor strictly curtailed the freedom of the press and associative liberty. [ie, in that not very much differing from his more famous uncle, Napoleon 1st.- Perhaps also lot in resemblance to some (plenty) comparable examples from the more recent "periods times"...] Even so, by implementing universal manhood suffrage for local elections, the emperor strenghtened social connection among citizens across wide-ranging social walks of life within local administrative arenas. This is a distinct democratic feature of the Second Empire that decisively broke with the 'oligarchical' Orleanist communal liberalism of the July Monarchy. ... ,as opposed to his predecessor's topdown method to reach liberty: starting to consolidate civil society in the form of local liberty, the emperor eventually liberalized legislative in 1860s France.

Meanwhile, Napoleon III successfully consolidated centrist political forces by inviting the class of large landowners to deputation. In 1852, only 19 percent of the legislative body consisted of large landowners, versus the 24 percent comprised of industrialists, merchants and financiers. The alteration in the sociological profile of deputies is considerable: more than seven deputies out of ten during the Second Empire were elected for the first time between 1852 and 1870. ... [...and, further followingly on aristocracy's and 'its overwhelming presence' during that period, it is, fx, concluded in the same that:] ...a consistent feature in the nineteenth-century France, the Second Empire remains unique in furthering distinct features that made nobles even more advantageous politically, namely, the country-side against the capital. The fact that Napoleon III emphasized the old nobility is verifiable by the simple fact that he was much stingier with the nomination of aristocratic titles than his predecessors." (; 224-5.) 

 ...Whatever the relevance of all this cons our main noticed 'subject', Sand. - Or, from cons her relations for, with the said emperor, Napoleon Third - It perhaps also is worth cons this noted period still to cite a slight bit on cons the more general historical 'progresses', during the era. While the industrialism was advancin', even in the (formerly/still) rather 'quiant' 1800s France, that too had it's impacts and consequences on political developments. As acc to the same description (Takeda on p. 228):

 "In the midst of the development of capitalism, the Second Empire of the 1860s was experiencing a critical transition toward modernity and the development of capitalism and social, economic, and cultural problems, coupled with the rise of nationalism within a European or global context, significantly enlarged the framework of public discussion on decentralization. Consequently, the issue entailed rethinking 'all relationships between government and individuals' and the 'relationships of citizens among themselves, 'including problems pertaining to citizens' national integration and cultural identity. It was no more bound by the narrowly defined 'parochial' and 'anti-national' spirit of the conservatives and all political groups, including the republicans and Bonapartists, became convinced supporters of decentralization. In this context, decentralization decisively affected the ideological course of political liberalism as well."  

...On the reasons to France's continuous "revolutions" and repeated political changes, during the 1800s, from that Takeda as well - ao w. other described 'developments' (And, while those former noted socialistic 'movements' on 1840s, during the Sands' times, aren't much at all within that discussion...) - we might still shortly cite this remarking, from the ends by same chapter; 
"...While the Third Republic inherited such imperial democratic aspects as mass political participation and minicipal local liberty, this chapter has demonstrated that the era of mass democracy encapsulated within the Third Republic became effective only when it was simultaneously endowed with the aristocratic spirit so praised by the aristocratic orleanist liberals during the 1860s. ...After Staél formulated her version of the second chamber between 1795 and 1800, it took a hundred years for democracy to come to terms with the aristocratic spirit to consolidate the gains of the French Revolution. ..." (; p 234-5)

 
; ...But preceded then should suffice for, from "ultimately" on this. It mainly on what (little) seems relevant to addit mention cons the period. - And what might've even having had some relevance from cons Sand's noted relations with the Napoleon the IIIrd...ao to other aspects. (...Or, just from what by elseways must've been influential considering the 'political climate' from those years, 1850s, 1860s.)  

[Pic beside]: ...of 'Retour de Flammes', Sillage-story from 2007. (By Morvan, Buchet)
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Still from a few more considerations... ; ...Brings on mind also that for an impression, the major recognition 'lately' (now few decade 'ago') of that now most famed novel of hers, Indiana, likeliest has concealed some the noted various qualities by Sand as an author. Or, her place amongst the unquestioned 'few' from the 1800ian literature greats. I mean, the very recognition of the book from presently might've also slightly 'advanced' the idea from her to for just some 'one shot wonder'. (Not too meaningful, though...)

However, (that said) to some ending p-o-w on these remarks only. - Of the reasons that by reading these few 'merited' novels by Sand, I've (a lot) gotten to think what else (much) there might be 'in reserve'. (Of me, as much anyone from finding...) And, also thinkin', it's indeed quite descriptive to compare that Sand, at least little, w. that on begins described/referred for William Wells Brown. Both rather more versatile characters, having wrote lot bit more than the most renown pieces. Such as any comprihensive reading to their other writings would establish.

(Pic) - Beside. ...From that 'Mystery of Marie Roguet'.

; ...And, along that what on prior said, that old canonical (literature) historic 'burden' to these aspects still remains also, probably, to pretty limiting: Without reading (any) of novels wrote by the Charles Dickens I could name a number from those, several to some classics by an 'unquestioned merit'. Or, for a quite resembling example, if only take an example for the 'closer home' from that Sand concerning, comes for mind also as easily Victor Hugo. ...On our late 'medialised era' that then (also) brought for thoughts – almost automatically – the several animated and 'orchestrated' flicks and series made from the Hugo's fictions – Their lately, enduring popularity and that Les Miserables in particular, perhaps. In any comparison only Alexandre Dumas (sr.) maybe gains some lead of him to a most popular novelist from 1800s sourced for the modern day re-filmatisations (plus, other for the serials made). – One might then obviously make next subsequent question: How many of Sand's novels ever, lately or recently you've seen on film? Even w. that overwhelming 'reclaim' from her fame, and 're-discovery' by/from the 1980s, one seeks the recollection for any 'flick' made from her novels. (Obviously, Indiana comes on mind as some most adjustable example for the filming. And likely there been some flick(s?) made from, maybe from a fewsome even. ...However, if so, seems it still more unlikely if those ever enjoyed a near similar momentum from any 'push and triumph', being from brought in the public favour w. the larger advertising and promotion. Or maybe I've then just personally missed that particular 'momentum'...

(Pic) - On the right. (Also) of the Crepax-stories, 'Baba Yaga' (-71). 

Feels it too, that concerning some those Sand's 'avantgardist' novels; their rakes, seducers and the 'victimized' poor young heroines to the personnel types populating their 'scene', would probably turn to a more demanding a task than any those more 'easy digestable' creations – Meaning merely those lot more popularly filmed Hugo's classic novels. Sort of a dangerous effort. More likely would fail miserably of to capitalize, during these most capitalistic, competitive times of ours. Of course, another 'burden' that would appear (but what would be from a significant less remarkable by any importance ), the role that a plot plays on their any structure. (Since at least that Horace seems merely, most part 'exist' under it's 'surface plot' - As I perhaps to some place before remarked.)

; ...But the 'whole lot' of the preceded mainly just from to (shortly) describe her many strenghts as a novelist.

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“A sail – a sail ! a promised prize to hope!

Her nation – flag – how speaks the telescope?

She walks the water like a thing of life,

And seems to dare the elements to strife.”

(Byron) ...on the poem 'The Corsair', 1^st canto; lines 83-4, 93-94.

; such as it feats on Martin Delany's Blake, or the Huts of America

; “... Planters were not precapitalists, anticapitalists, or mercantilists. Rather, they were businessmen who were accustomed to using a rhetoric that emphasized government's obligation to serve the interests of West Indian planters and merchants. The most prominent examples of this strategy can be found in the debates over the taxation of both rum and sugar during the twenty years leading up to the end of the slave trade.” ;

“...it is possible that those assigned as apprentices in their teenage years might have had an easier life, facing lower morbidity and mortality, than those who were unlucky enough to have been assigned, at an early age, to the field. ...Richard Dunn's research, which asserts that paternity, not loyality or hard work, determined job placement. On the basis of a detailed study of a single estate, Dunn argues that the large proportion bi-racial tradesmen indicates that having a white father had the greatest bearing on upward mobility. ...[Yet, despite that,] many tradesmen were selected for other reasons... ...Among the tradesmen in this schedule, 46 percent were born in Africa, so paternity was not a factor in their promotion. For boiling and distilling workers, the proportion of Africans was even higher (60 percent). ...Jamaican slave owners, like planters throughout the Americas, chose to use the promise of a skilled position to win loyalty and hard work from their male slaves in particular.

...Masons, bricklayers, and coopers may have been engaged in fieldwork during harvest, but the identity bestowed upon them by their masters distinguished them from other slaves.

While there was a clear division among male laborers based on age, there was an even more striking division between the sexes. ...” ;

“What saved the anti-abolitionists from the apparent contradiction between the contended-slave thesis and the forecasts the abolitionist-inspired slave rebellions was their dismissal of reformers as political radicals. Slaves were simply misled by zealons and demagogues interested in stirring up social chaos in order advance their own personal gain. Such arguments were spoken before the Fench Revolution, so the planter's warnings were somewhat prophetic, especially in light of the St. Domingue (Haiti) slave revolt, which seemed to prove the planters' erarly warnings. The very first historian of the abolition debate, the anti-abolitionist Robert Bisset, concluded that after 1793, MP's became less concerned with 'phrensy in favour of Negro emancipation' than 'other phrensies,' much more radical than had gripped the nation. ...

[...]

The Society's resolutions in response to the St. Domingue revolt reflected the fears the Jamaican planters, who would prove to be particularly obsessed with possibility that the contagion of liberty might indeed spread down their island. In a set of nearly duplicate resolutions drafted on November 5 and 11, the argument was made that all islands were imperiled by the events in St. Domingue, but the proximity of Jamaica, 'only 28 leagues' lo leeward of 'St Domingo' made it dangerously exposed. ...

...When the war broke out with republican France, tens of thousands of British troops were sent to fight in the Caribbean between 1793 and 1798 at enormous financial and human costs. Over 40,000 soldiers perished and nearly 40 percent of these died in the failed attempt to conquer St. Domingue from rebel slaves. Costing an estimated £ 20,000,000, the Caribbean campaigners were hugely unpopular with opposition members who questioned the logic of fighting a war for a national survival in the farthest of the realm. ...” ; of West Indian Slavery and British Abolition, 1783-1807 by David Beck Ryden (2009; p. 104; 142-3.; 209-210, 211-2.)

(Pic) - Beside. Of the 'Reflection' (-71. On those 'compiles', at the Vol II.)

(; The lastly quoted (pages) mainly of reason...That if reminded about that late 18^th/early 1800s uprising on the Haiti, one often tends easily pass aside from noticing 'bout the fact that Napoleon's disastrously ended attempt for 'reconquering' the isle was actually preceded by the British troops sent of to 'capture' the Isles riches, 'possessions'. - W. equally disastrous result, consequently, such as on that is mentioned.)

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...(Think) I look like some man standin' on a Sugar Mountain? ; From Indiana's part, likeliest, I only think it necessary to add that books very recognized status makes it bit difficult from 'reviewed' to these 'connections' from. I mean, these days it actually only feels a quite banalism to have mainly that selected of the Sand's wide variety novels. Thenagain, perhaps deserves a mention too that often some 'merited' novels (usually from well known, lot published author's making) appear maintain somewhat significant places on their works. Actually, does defend their...certain 'uplifting' for places as the most appreciated amongst. (; This view not then, fx, contradicts that what expressed via the citate on begins this (Levine). ...Some expressing that the focus on the certain better known novels usually merely limits to gain any better overall view about careers from their authors. Such as we notice of the few 'cases examples' about american abolitionist black writers for mentioned.)

That same aspect ('quite'), actually, seems of fit for our examples concerning the Sand (Or merely on that role by the Indiana, and it's place cons anything to her 'other' postward legacies, precisely). I mean, quite similarly, fx, Brown's Clotel (1853) and Delany's Blake (p. 1859; 1860-2.) both have their main present importances not just because those, perhaps, might've not had had that much particular significance on their said author's careers by the origins. After all, both were for the author's first fiction works too. Both still some level rather unique (Delany apparently not wrote any other fiction works. And even so if, fx, reminded about that that Well's Brown did effort for his several 'rewritings' on the story by Clotel's.– But, their very significance in relating those to any later estimates and 're-estimates' from their author's careers, almost demands those for being given some level 'a priority'. (At least, I think so, simply due because of the reason that said 'classic' pieces actually inspired myself from to read more of their very authors, and their times.)

; But I eagerly admit, fx, that I often am also lot more earnest to read novels than some other stuff. – And it also creditable that any one-time author often makes the more lasting impression than perhaps some 'thick pile' of the books wrote by some established, 'more competent' novelist. Furthermore, I do think those (mentioned) novels probably might appear more socially informative than the amounts their author's other writing. It's fx often more practical from 'hide' some clues, or perhaps even more often the 'open statements', under the entity by the novel's text. ...For example, it doesn't much matter – that postward 'fame' considering - if one writes a bunch from the more 'serious issues' and stories about (Such as the plentitudes from words to these writings of ours here, for example.) Most people, afterwards, are likely from trace any 'failings' to the circumstances by the time, or fx seek from what arises to the more interesting (...'Or so.'). But, it's a cardinal mistake if one writes, and publishes, a bad novel. Soforth, even if an author wouldn't seemed not to that much for postward appreciated his/her fiction writings it probably assumable that anyone by the time from writing – anyone w. even bit of any serious intentions w. that - would put the more thought for his/hers fiction writing.

; ...The fact that Delany's 'effort' seems as well appeared in a couple 'revisings', by the y. 1859 and 1861-2, gives me then the reason for few addit remarks on him (As we've already prior wrote the amounts on that Wells Brown.): Fx, there seem being stated Delany assumed (possibly) to had left his books ending scenes out of that actual serialized publication. ...Something what I actually, slightly, doubt from. The explanatory text on the most modern edition ('corrected' 2017 ed.) seems from notice about that '...The first seven chapters of Blake appeared in the issue of November 23, 1861, and subsequent installments appeared in each of the next twenty-one issues. ...

unfortunately the most complete surviving set of WAA [Weekly Anglo-African mag] stops with that April 26 issue, ... The June 7 issue has no chapters from Blake, nor do any of the later surviving issues of the newspaper. All efforts to find one or more of the five missing chapters have failed, so we do not know how many further chapters were printed, if any. ...” ('Editor''s Note', xxxiii-xxxiv) ; (Unlike it seems sometimes from speculated about, I can't invent any adequate good reasons for the Delany from having left the story partly unpublished - without that apparent 'climax' on it, the slave rebellion, at it's end. ...I could imagine that his efforts 'in the meantime' from carried him to journeying to an African soils, and that 'emigrationist mission' he'd from planned, could've come first and directed his any interests away from that. Yet, it still feels somehow all too artificial for an explanation from offered – Given also our above remarked aspects.) 
But, can't say any better, having not much any particular familiarity to, or even for any 'clues' about that... The few sources I've happened notice, seem from slightly favor the view that he'd halted publishing of final sequels by himself. (But then, fx, one also finds it said that the novel's later prospected publication for the sales, failed for realize – at least partly – due from that a famous abolitinist, William Lloyd Garrison, felt it's contents to too violent, and 'endaring', probably.) ; Well, who knows...

Anycase, the novel as well is noted (to) 'maintains a striking revolutionary tension' – And indeed so, not from former emerged on my any reading other from it's contemporary novel/(black) fictionalist to whose work would've feat fx a plot where the 'protagonist' ('the hero') encourages his companions (slaves) for to murdering their white slave owners, also conceals his identity w. a purpose from 'infiltrating' on a slave-ship (...And, the story then containing the descriptions of the vessel chased by pro-abolition Briton ship, and has the references about – since that time, 1810s, -20s, a common practice of sinking from 'cargo' in case needed escape having gotten captured, from judged to had violated the existant international law. - As during the years there already was some, banning the slave trade.) (Or, for the more exactly said, seems it also said that Blake's narrative from 'woven' together several details/actual incidents, that'd from happened to the 'nearby' timing - And those, despite that, or despite their authentic historical 'timing', embedded for it's story-line, that happening during a briefer period.) And finally, it features also (Blake, from to) raising in the destination islet (Cuba) the creole free classes/or, the "elites" for an unified effort, w. the slaves, for an 'overthrow' of the 'master class' at a larger uprising.) ; (Although, notice also the few remarked 'subnotes' about that ending, before this and on the following...)

Nevertheless, it's then also worth the remark – that much similarly as the case from that Clotel (But cons Blake, 'til even for later by any years, seems it), novel now seems appear some to the most studied early African-american fiction books from that decade. Yet (also said) that soon after from it published and for the most part of the 20^th century, this 'novel' only featured for mentioned on criticisms – maybe – from a handful of times. (C.L.James, or some comparable black authors' whose few references, perhaps, seem contained most those few exceptions to that.) Even Delany himself, w. his emigrationist designs by the time was as well largely 'forgotten' in time. That means, before - about – until the more 'liberalizing' 1970s, when book's earlier modern edition was been published. With a fewsome simultaneous/preceded(?) timed biographies and other studies from had then appeared, around, 'about'.

; ...Happens then make yet another interesting mention (that) I also read by simultaneously – while not related to – but for some introductions from the american abolitionism one 'smaller' book wrote by the Aptheker (1989). Author, fx, seems for that time appeared rather well reknown, even from w. a such pointed wordings like for named as the 'Americas fiercest communist'. (But how decorative a terming to this, on his..."rebellion". Or, for the marxian critiques, choose what to the more favorable a terming from yourself...) Felt quite understandable from noticing that Apthekers' view on the topic, that abolitionism, seemed to lot reflect the class-based approach. Marxian 'views' to, such as was...quite prevalent, on postward years of the World War, 1940s. So, fx the book's subtitling gives some idea on the 'perspective' for the phenomenom, as that was 'A revolutionary movement'.) 
 

That part of course merely, mostly seems irrelevant to these notes. More to the point, feels it like, that (Aptheker) had only four mention worth any entries from the Delany. (His novel, that Blake, seemed also featured shortly on an introduction.) Also, all the other references actually only listing Delany amongst some several other personnels lists – In related to some issues discussed on text. ; Just for some comparison fx a Frederick Douglas seemed from to appear on it's index from near 30 times. Henry Garnet w. some six entiries. Furthermore, to some comparison there then seemed only a one entry on that Wells Brown. 
(...Whatever then any worth for this kind p-o-w's, that at least gave me the idea that indeed the much 'overconcern' on the Douglas in those 'recent' pasts, might've well lot obscured the 'complete picture'. ; Btw, fx I then also noticed Logan's remarking from the part similar 'disappearance' of the Harriet Martineau at some older literatures/histories for the abolitionism's past for, apparently, quite correct – Her name didn't seem at Aptheker's book make not entry at all. Or alternatively, Jacobs seemed from appear, and think to remember it also from made a mention about how Jacob's book earlier used for 'referenced' or placed only under the editor for that, L.M.Child. But those details only distant relating, actually it also a relative short book - Not necessary featuring all for the half-a-century's histories from, ...or to so comprihensively.)

...And, by the way, to these reads (that) Aptheker doesn't otherways give any impressions for any very 'partial' informations. (I mean, that a short compact, briefer history from. From any look to those, a few decades old volumes and likely you'd discover far worse wrote books. ) Only perhaps, that books sources, seemed from bit aged to my more present findings about. 

; Actually gives some reason to shorter quating that too – Just for some 'in addit' mention, to some remarking on the similarity at those 1800s social 'revolutionary' movements. 'Cause already, at their begins, by that time from Sand writing the Horace – There might've been, actually, lot in common w. those backgrounds, on those movements. – Also perhaps adjoins w. those marxian influences on an abolitionisms 'break-through', by that 1850s. Fx, it has the following remarked: “The appearance of Marxism and social-democratic associations, programs, and organs in the South in the last fifteen years of slaverys' [practically, the '1850s'] existence represented the left wing of a widespread class consciousness which characterized internal southern politics during that period. It produced a mounting uneasiness on the part of slave owners as to the trustworthiness of southern white laborers, mechanics and small farmers; it contributed to the appearance in these years of the conviction that slavery was the proper condition for the laboring population without regard to complexion. Indeed, it was insisted by some influential ideologues of the slaveholding South that – whatever it's name – slavery, in fact, was the condition of laboring people everywhere. ...” (; p. 40)

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Any reading about the more lately critiques on the novel's contents (that Blake by 1859, meaning) could give, of course, plenty more view on it's thematics, or, about the reception from those original publication(s). (That reception, seems to me, must've still appeared limited.) ...However, finding from Sundqvist (-93) using the most usual repeated termings about it, namely describing that Blake for 'rather awkward drafted as a novel', feels almost quite derogatory, for any word. As – you may have noticed – did myself find it for a novel to decent piece of fiction, actually. Of course, the chapters and some 'gaps' at the plot don't quite so 'neatly' play together than them usual do on any more 'professional' created some. But fx that above cited Byron-poem, plus actually the whole lot from it's particular placing in the midst that sailing-'episode', are all to quite novelistically situated on the story-plot. It could be more...'arcane' by structure if lacking any such 'stylizations'.

...But wasn't meaning either to discredit – at least to the most part, not in too knowing about Delany or this times to provide any differing opinions – anything I happened from briefly read to the backgrounds. Fx, on that Sundqvist we find (on p. 183.) the noting that Blake from a 'more often' (to) resemble 'a manifesto or a political anatomy of slave culture'. Feels for quite justified a description. Indeed it is apparently a work w. some quite direct political intention. (Fx, if thinkin' it w. any comparisons to that Wells Brown's Clotel. On which any that kind content, if one thinks to find some, would appear by clearly more careful 'diluted' words, or of 'concealed'.)

And like noted, the book on it's original form was serialized at the mags (While Delany's said from intended had that published on a binded version.) Along what in the prior noted, that Blake seems as well 'contrastively' avoid any too 'easy' or standard novelistic solutions from. So, leaving its ends incompleted would/could then be interpreted as the means to make that to serve the purpose even more direct manner. ; ...Sundqvist seems for anticipated that possibility, p. 220, from writing that maybe Delany wished that way give his 'manifesto' a more potential force; '...or, perhaps the most interesting possibility, he saw that such a surprising eclipse of the novel's revolutionary import augmented its threat.' ; Indeed, despite what I noted, it would sound quite interesting to think about so, 'cause in fact also the many 'plottings' to it's structure, not just on an ends of the story, or where it ends, make some difference from a too standard 'regular' novelistic choices. ...That sense, slight bit interesting here, perhaps also comparison w. that Horace again, even, would appear hold some interests. (Since Sand's novel actually 'progresses' little similarly, there a well lot presentation and descriptions about then current political 'tensions'. Then, for the time it ending, all that largely 'falls' or asides from that over-romantic, unconvincing 'flop'.) - In some contrast, Blake, also actually lacks to the most part any novelistic characteristics from, or personnel. From hence also it's relative low appreciation to any 'fictional' piece. Anycase, I think the main 'unified' point that in both cases the novel only serves for the reason from examine and write on the topic that would underline that era's, those decades violent anxiety, uprisings. (At the Blake's case, the period '...slavery in Americas at the point of explosion', the 1850s.) And...there would've been of course lot more for to mention (of via that Sundvist), but let the rest from remain, by this place. - We might as well close these remarks for a short cite of the modern edition's introduction (McGann) from remarking the book rather 'unique' creation for it's times, even to belong to some those works that '...give us a chance to meet and listen to the dead speaking to us about ourselves in our touching, alienated, never-to-be-unalienated, world.' (; xxix) - Well, couldn't say that from anymore poetically, so let us be satisfied on that, then.

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; ...However, it's then also in place here from said that Delany as a personnel, and some 'one time novelist' apparently, seems also lot more connected to a militant ethos than other more 'standard' black abolitionist writers to those early years. What the Delany seems most wellknown still to this day, was his 'role' for a favorer/'originator' for the idea about american blacks, once freed of their bondage, for set to emigrating to some tropical 'nation' (on Africa's or West Indias). (That held fx the view along that only there their 'unique racial traits' would from subsequent 'surpass' a suppression of the whites; From 'only in a separate national arena'.) ...Reading that view by now, such a mission, of course, seems for bear an amount very 1800ian sounding rejections about any 'admixture' from races. Some part that seems also discoverable from the novel, on occasional places.

; Sundqvist also seem to mention that of reflecting his 'nationalistic pride', [Delany] also named '...both his sons' – Toussaint L'Ouverture, Faustin Soulouque, and Ramses Placido among them – and his daughter, Ethiopia Halle Amelia' ; p. 188. ; But anything of his biography or of Delany as some 'segregationist'...is beyond the limits from this estimate. ...Actually decided soon against any like, fromafter to had recognized the actual scope of this. The further 'explaining to', would've demanded also more particulars from the conditions and circumstances by that 1850s for related on this. Let us then just say shortly that Delanys' level 'racialism' – becomes quite more understandable of reading his own personal history and from the experiences of having had faced the usual discrimance, that time, on a (seemingly) more 'free and equal' Northern states. (During the 'prior years' from his life.)
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And, somewhat 'concludingly' it then not less a practical choice if here offered from little more on the backgrounds from that novel, via that Sundqvist (, on that same p. 188, writes): 

“In his call for the cultivation of Negro's 'inherent traits' and 'native characteristics,' Delany anticipated Du Bois in bending his apparently racialist argument toward a recognition that blacks, as well as whites, could instruct the world in arts, in philosophy, in political economy, in jurispridence and in metaphysics. His more detailed account of his trip to Africa 1859-60, Official Report of the Niger Valley Exploring Party (1861), set forth a plan for enigration that included one of the first strong articulations of an Ethiopianist or Pan-African political philosophy. Arguing that 'Africa is our fatherland and we its legitimate descendants,' Delany thought that emigration would regenerate both African and American blacks. ...

[and, the novel,] Blake was composed before Delany's visit to Africa: the onset of the Civil War made moot the planned emigration. The philosophy of racial pride, however, and more particularly the vision of a modern black state that unites the splintered aspirations of the peoples of the African diaspora is built into Delany's protonatiolist novel. Between his nationalist essays and his unique fictional narrative, Delany offered perhaps the most comprehensive literary treatment of Pan-Africanism from an American perspective, and on American soil, prior to Du Bois in Darkwater and Dark Princess. ...”

; It's then, possibly, matter of choice which one thinks for a more influential “cause” for Delany's novel from written – The political circumstances from that anxied 1850s, or it for inspired of Stowe's more 'moderate' novel, w. it's apparent racialistic 'leanings', attitudes written in. As the discussed story by it's very titling, fx, said from ironize that Stowe's more famous blockbuster-novel. However, on Delany's case it also having to be noted that his earlier negatively opinion on the Stowe, apparently, somewhat later did alleviate. (From thenafter, during the civil war years, about.) ; What emerges for the most apparent, Delany's emigrationist view, or even from his 'Pan-Africanism' already seems to well recognizable on that novel. (Albeit, also noticing that the Wikip. article on the Pan-African thought seems omit Delany by the mention, him for being somewhat 'categorially' linked to the early american Black nationalism - Although, that entry from the pan-Africanism largely/mostly focuses on the movement at 20th century. Ie, when such idea for the more widely emerged or was from enshaped, 'appeared'.)

(Addit, 30.5): ('Albeit'...) ; On that 'Introduction' for the most modern edition of Blake (2017, McGann) - Of what we also could've had some more from quoted to these views, having paid the some more attentions on, prior – It is, fx, mentioned for the 'novel' to had been from longer time emergin'. As acc the said that “...was written to bring about actual social change. Its core ideas had been maturing in Delany's mind at least the late 1830s, and he had promoting them them ever since in both fact and print. It was the appalling Dred Scott decision (1857), which held that black people were not US citizens, that finally drove him to write what would be his only work of fiction. ....” (; xxx) As well, on one from the notes of that (introduction, p. xxx) there also about background's for Delany's emigrationist 'plan' the followed: “....Delany's commitment to emigration from the United States became fixed after the Compromise of 1850. But that he felt the force of that idea well before 1850 is clear in essay like 'Sound the Alarm' and 'Annexation of Cuba' (Levine, 140-143, and 160-166). It is also true that he did not turn to a plan for African emigration until after the Dred Scott decision. Before that he explored the possibilities of emigration from the United States to several different areas in Central and South America: ...” ; Apparently... then, that the Stowe's more '...reactionary' novel then best seen from an 'influence' only to some 'spark' for - As any references for ain't also of too direct relevant to the main contents of that Blake. As well that Stowe's book does seem also of a bit similar 'inspired' number other contemporary texts, by those days. (And fx the story's setting at the begins from Blake is 'developed' near similarly. On a few instances there still some other particulars/details that'd seem similar traceable for that. Such as there is, for examples, at that Clotel.)

; Did, pt IV (final pt in the series)

...'Balthazar'; and the Oriental mystiques, of 'transplanted.' ; From after these stories it becomes only natural that those other recommends contained would appear only from some secondary importance. Yet, all the 'recoms' selected on this also fx appear been selected from the French authors. (Intentioned, I never meant these for to enlargened any those lenghts this now appears with...) 
 

(Pic, beside:) Bit surprising, but this Schizanthus (wisetonensis, at the preceded post/'part' from this from particulars) decided to make some flowers. Thought those then nicely decore these few mentions on the Diderot. ...Actually, seemed for so early emerged on a one plant I placed to the  'pregrowths' on a clay-vase. In the heat from garden greenhouse seems that the most practical grown from – Despite that the roots in overall ain't for yet for quite complete developed. I wonder if the midst from June might appear the 'proper' timing to those on outdoors planted. (The seasons gotten of warm 'enough', by then.)

 

(It have got of somewhat colder by weather.) ...No doubt that without the preceded week's early warmth, actually several weeks to April-May was to very warm, wouldn't have gotten that to flowers so early. But their indeed nice. When successfully established to it's places for garden, the plant seems adverted make numerous more those. But what the timing...would be proper, best for ?

On Diderot I wouldn't even bothered from this much, unless the “novel” featured wouldn't appear from such a peculiar creation. The most aged fiction work (so far) from being selected to our reviews and one can then actually speculate of whether that old creation (of 1740s) in reality even is any novel at all. (In the more modern sense.) ; It's overall details, histories maybe for quite shortly described: Said wrote to some light parodising parable on the Louis XVth 'reign', as it's happenings situate on a (some) imagined oriental court where the Sultan Mangogul, w. his 'courtesans', plays certain light-hearted game w. an 'indiscreet' ring. That bringing the 'toys' for to talk, quite unshamelessly, being the main plot at that story.

...The original intention was actually from feature it as one piece on part of the sequel containing mainly 'pornographic' or erotic novels at this 'serie'. But, actually it more in place to remark that this Diderot's early creation (published anom., of the obvious reasons) is actually anything else than a pornographic, or some 'obscene' novel. (From an early recognition about this, I also noted it from a 'standard' mention on any older estimates from to it's place on Diderot's works, it said for (him) had wrote the piece mostly in needs of money. Also, to later then having had the 'seriously regrets' about. ...Hardly, one would come to think of anything such simplifying. – Although, he of course might've well expressed so, if only from need to avoid any imprisonings. (From had already spent some stays at that Vincennes. Under a relative minor 'limitations', nevertheless at least for 'some' level an imprisonement.) ; Of reading from that Deneys-Tunney that he also wrote later (1770s) a few additional chapters on that 'Bijoux Indiscrets' one comes for think that it could've well had lived alongside his career, in a bit similar manner than his several other unpublished philosophic works: 'In the safe', on a case of his writing desk, perhaps occasionally read or discussed w. his close friends. (Don't know, not anyplace read what likehood of that.)

Anycase, we've plenty enough related on and about Diderot already prior this. (Actually, some main reason for this selection – apart from that it being a most interesting creation – and even considering that Diderot wasn't any too great a fiction writer, mainly – is just due of that reason. Feels it quite proper to have also something selected from him.) ; That noted, I think it suffices if we then only cite for the essentials a few lines of the article already above referred, ie:

“...While Diderot's libertine tale suggests that the bijoux give voice to the classical, metaphysical philosophy has repressed – the body and sex – certain chapters (which Diderot himself explicitly designates as philosophical) tackle the mainstream metaphysical question of his day. These include the nature of the soul and its location in the body; Cartesian dualism; whether animals use language; ...[Etc.] ...

[with it's 'use of'] ...terms, which evoke the great metaphysical debates of the day, the novel repeatedly engages with an external philosophic discourse which is parodied, displaced and integrated into an unfamiliar discursive context (an obscene oriental tale) that serves to debase it. Diderot thus deconstructs metaphysical language from within, taking its key terms and causing them to 'drift', as the novel veers from the literal to the metaphorical or vice versa, creating series of increasingly surreal images that may leave us reeling. ...“ (; Deneys-Tunney, 'Les Bijoux indiscrets: Transition or translation?', on New Essays on Diderot, p. 2011.; p. 101, 102.)

(Perhaps not so 'minor talent' for a fictionalist too, then. But the pow, that those essentials also make it not from any too easy reading if wish follow or recognize those mentioned transitions in text. ; Matter of fact, it more to a something like/from between a philosophical masterpiece and lightly 'scribbled up' framing for the tale questioning the transparency by the 'everyday existency' . At least, that a some simple interpretation about it.) 
 

; (Pic) ...Those Schizanthuses, another pic (Of a slight closer 'look', pic.) ; The var. being named 'Joyride'. Come on', come on, for the more flowers now...

; On Gautier we've mostly selected, perhaps, of reasons that his short-story/'mini-novella' (Clarimonde) felt like the good opposite on any from above discussed 'Sandian' themes, novels. Not perhaps a 'major work of fiction' – but I suppose still might represent some better parts of the Gautier's stories. (Not very much familiar to those, so leaving this for an open question...)

Well, on any old photo's he (Gaultier) also gives an impression, little like, sort like, of some 'well-mannered domestic hound'. (Such as maybe the some he'd portray at few his other writings, fx on the playful 'My Menagerie'. A little 'funny story' 'bout his domestic pets.) 

; ...He seems also had a role for an important (...influential ?) literary critic on his times. Finch (2000; p. 85) seems fx cite fee source in related to Sand, and of authoress' post mortem seen fall from 'once glorious reputation'; Which tracing that on '...condemnation of almost all later (and a few contemporary)' (1800s, male) critics to her writing – mentioning Baudelaire, Gaultier, Nietszche, Henry James, V.S.Pritchett, 'and others' - who'd 'seemingly uncontrollable' did tend fill (or 'litter') their comments w. pejorative termings by words rel. to the lower ends. (...W. the now obvious Freudian implications then derived of that manner for words selected – Those telling 'metaphors' of that reaction, acc which, was reflecting their '...almost hysterical rejection of Sand and, with her other women writers who seemed [represent] danger of becoming too successfull.') ; ...Don't know how much any such 'proofs' could be practical 'derive' of the said – mr Freud not my very close acquaintance – Let us only mention that the words mentioned to Gaultier's using at least feel for having had a bit more 'relevance' for referring/from referencings to Sand's text, and not the persona. That, by Gaultier's, 'pisse-copie' ('text-pisser', as the translation from.) - In compared to the given examples by some others, from terming her for a 'latrine', or for the 'Breton cow of French literature'.
(Which, to the modern/presently finding, almost feels like some astonishing important lessons on past French literature history to familiarize little from, about.)

(Pic) - On the left : ...a 'scene', from the bombarded landscape ('no man's land') between the trenches at the 1st World War. - From some war-comic, named Best of the battle. (If I recalled that  for correct. Spoken line, 'little altered'.)

...Gaultier's fiction works seem lack any significant noteworth or an 'immortalized' novel, but his short-story collections must've contained also amount other intressant pieces. Some might've (likely) from similarly reflected by then popular orientalistic influences, contents than Clarimonde seem to do. (And some amongst those also to horror inspired stories.) ; ...Of his other 'pursuits', acc Gaultier's 'short-bio', seems he fx as well smoked the hash-pipe w. such contemporaries as Baudelaire, Nerval (and, likely Flaubert.) Which also, pretty much, traceable to the same popularity by the oriental-hobbyism ('exotism') of that day. - Perhaps some from the story's imagined “heights” to this sentimentalising erotic novella then was inspired directly of such pipe-fillings w. the other 'co-bohemes'.

; ...Furthermore we may then notice that on any estimate the story not quite achieves the level or quality of that Carmille (1872), the lesbist vampyrean story by the 1800ian gothic 'master', Sheridan Le Fanu (1814-73) – But actually it's lot eroticised language still is a quite intense from impression. Actually, feels from relative original from any comparison to the most various resembling creations that there are, must exist. Clarimonde, seems though, written to several decades later than fx that Indiana. ...I just suppose it was said wrote well to the mid-century (on 1860s? Didn't bother for to check about.) Anyway, perhaps it's some conventionalism actually makes that also to well more serving selection of that 1800s. For a story plot a 'Golden-hearted' vampyrian femina. Eroticised languages and whatever one then would wish of interpret of feat 'interplay' between those fantasied idealisations and it's sexual horrifications. (...Of course, from those aspects noted it then could quite painlessly also fit from any to any criterias to an 1800ian pornographic. Even without any sex or 'obscene' from containing. ; That not for the understatement, there's good and bad pornography, like from anything there are.)
 

; Photo (on the left) - Rachilde (1860-1953), lookin'/posing like 'on the contemplative moods'. ; Acc. the accomp. text to that - photo might be of the mod. edition from 'The Juggler' (, supposin', if I happened again from recall that from correct...) - the original photograph from y. 1898.


; ..Of the truth for said, in comparison to that some others like the former praised Rachilde, Le Fanu - Or even smght like Leopold Sacher-Masoch - those would've appeared, perhaps, from somewhat more original examples to the erotic-horrific 1800s writing(s). But now that shall do, as we already selected for this. 

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“Misfortune is not without its uses to the thoughtful mind.”

(George Sand) - on 'Preface' to Mauprat (June 5, 1857.)

'Sneaky little... ' ; Soforth, those were the main parts (or, the most part) to my any “affair” with that great George Sand, this far. (Sometimes pretty heated moments, sometimes at the more calm – By any scales of a 'thermometer'.) ; Such as often enough noted, Indiana a main recommendation on this – and the few pars from these other French fictions/authors merely to some 'fillers' on this recommendation No 56.

And not all on this for any too exclusive of praises, though. I've then, in a few occasions, fx tried for read some other her novels. For example, I've repeatedly begun the Mauprat (Some of the early shorter novels, or large 'novella'.) - However, never bothered to my reads of that for very far. ...Or, well was so by own impression, only. ; Quite similarly, among the most praised to her novels, must rank Consuela, that famous romance. (It for a more 'relaxed' heroine-fantastic piece, apparently w. some 'gothic tones' to it's main contents.) Never bothered very far on paging that either. (Book some over 700-pages blockbuster too. ...So not surprising to these circumstances, actually.) 

; Yet, from the more pertinent, sufficient to us then only add that, after all, Sand during her times achieved a status from the foremost female novelist in that 19^th century. Remains recognized still as such. That perhaps only gains by any noting that despite a success and 'flourishing' by the Briton Empire past that 1800s, fx Eliot's any claim and achieved popularity by the time (later somewhat perhaps slight declined) doesn't seem 'rival' her very claim for the 'place'. ...If little dramatizing these views: Of course, any of the sort 'rankings' from prose literature's 1800ian histories merely serving some old eurocentrisms. Perhaps even some level dismissive – Such as are any categorizations (Sort like, something put on it's place as a 'women's fiction'.) ; But I have no doubts from that you all could well do better...for this sort 'estimates' on, about.

...Schor, on that Introduction for Sand's Indiana (-94 ed.) seems also refer to those novels, which must then also incl. that Horace, for Sand's 'Utopian socialist novels of the 1840s'. ; The follow-up on that fx remarking also, fx: '...Greeted as a masterpiece in its own time [...well, we recall on above remarked that, as always, to had received some reservances for that view, etc, ao...] , Indiana has been allowed to go intermittently out of print in ours. If the measure of classic status in France is selection as a text of the agrégation [...what that term means? Sorry, I've no particular idea....] – and only precious texts are – then Indiana has still not attained supreme institutional recognition. ...” (; xxii)

- Quite so, this maybe seemed confirm too. Then one has the distant idea that past those decades or century of it's 'unrecognition' the book still may from had remained 'alive and kickin', read and talked in the more avantgardian circles, cafes, salons, and “courts”, maybe. Sort like most important works always tend do. Perhaps even on the bedside chambers by those various 'cultured'. ; But anyway, that lastly cited also seems from wrote over some 20 y. ago, of course. Probably more particular viewing from her more modern biographies (and, 'alike') would've made this a (slight) bit different a story. (Not anything that I'd by any intentions for do. It already 'outlived' my any reviews here.)

Besides...Well, like said would've been beyond my any intentions, anycase, anyway. ; Certainly seem that was a sort of a...'big evil'. Indeed a Big evil. (Some 'Heavy shells'.) Or, perhaps only for to some minor evil, but still such a 'dangerous business' – If to only slightly from exaggerating. ; But, hopefully the most 'essentials' were covered on these view about. Well, that too from a most minor of the importance...

; And about those other novels by hers, then ? (Some to her 'better ones'.) Guess'll I have to have a few looks on those too, by sometime – If I ever get the time for. Wouldn't say that I'd think, describe or overpraise these discussed novels from to so captivating. But, perhaps that'd possible say better via paraphrasing an expression w. the reference to another, more later lived 'immortal' – that musician John Lee Hooker; Mostly 'all that' got me for 'well hook'ed on'. Lot more than I did from expect, actually. Almost would say...(those novels, meaning) of shook us – temporarily, of course - from our well-established course. ...Yet, now the weather seems from more encouraging: Sky clearing, 'gentle-folks' populating the deck....Dogs bark, sea-gulls glide in the sight, 'Kraken' apparently remains to it's beautifying sleeps. Setting sails now towards the East. Suppose. Not from the compass, rather by any instinct. (Thoreau mentioned of always from found his steps led him towards the West – Why not, therefore, us from make a decision against his that "advice"?)  ; [G.U.J.]

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[Addit, 30.5] ; "Fresh from the garden", a botanical 'counter-argument'... ; The seasonal warm, in overall, was this year too rather early on time. Yet, we've also had now a plenty from rains – Actually in much the manner it recent for the more usual, in form of some plenty 'showers' from. On a few days almost continuously. 

(Pic) Actually happened have to had the chance from also discover a place where it was possible photographing this emergent 'cone' on some Spruce (P. Abies). ...Usually one not finds those from the lower twigs – to so easily for photographed. (Supposin' the tree takes some several decades before them emerge from pollinating.

; ...Or, not? ...It ain't very clear to me of whether that's a 'male' or 'female' cone – Suppose', such as on the other conifers mostly(?), the 'female' flowers do develop first.

Or...not so?) However, those have the nicest nice red color, some that one not otherways, not at the other seasons finds on these Spruces of our Fennosc. natures. (Well, in that pic the color is from slight differing - due because the photo-processing 'enhancements', program. Beside you actually can't capture the colors of nature, exact, for any photos. So, thought that not much would matter...)

; ...So for the early plants growth, so far, the seasons actually wouldn't been from much better. I still wonder if we're from to see some drier weeks already by a June, to this year too. (Unusual here.) Seems become to some characteristic at those weathers that the rains do nowadays pour more often like some embattering tropical 'showerings'. Well, not exactly. But a level of some alteration btw those drier periods and 'monsoon rains' seems for increased in the local weathers too.) ; The plant's – and esp trees - growth more overall seems from clearly enfastened. For example, all the 'early' trees got on flowering this year almost within some few weeks, when it got for that early warm during Spring. Likewise, you notice that now the usually more 'vary' or “rarer” deciduous trees are rapidly growing their foliage already (The Maples, Elms, ...even Oaks.) Those trees also seem now grow now from a lot fastened rate – If I compare to any less cautiously made recollections of the same, during the past years. ; Sometimes the resultant 'changes' of these climatic consequences aren't all for the worse. (And, there fx also seemed 'recent ''newsed' the estimates about on fast growth of the trees globally, the forests established/to situate for some lot former deforested regions, such as India, China, of most 'escalated' growth.) - Doesn't though, any manner, change my view about that the people's manner of to treat their close environments usually does affect near as much as the more global change from the (rapid) 'warm-up'. (In fact, the previous year's unusual enlenghtened dry spell here wouldn't felt near that exhaustive, having there been less of that ever, enlargening construction activity (houses, 'parks', open lawnyards, whatever like to think from comparables) and remained more, well - trees, 'instead'– to these neighbourhood. 
 

; Since it also seemed, fx, that preceded year to several Month, midst the Summer, most plant growth actually was exhausted to that heat, too. (More unusual on here, too.) Rarely seen, these latitudes, the Summers for emerge that way. ; No wonder if they'd now increasing worried whether there a possibility of the new emerged 'pests' and plant invasives to these latitudes...But I make no estimates on any that. Perhaps they've at least gotten on, these days, to some senses for abandoning the strict maintenance for those 'one tree farms'. Or the human monocultures at the forests growth. ; - 'Spotted' fx to some places those Red Elders for had gotten to the enlarge it's growths. Some among the species that seems relative quick now for an arrival to a typical open cleared spots and 'alike'. Sometimes you even spot those in midst some otherways largely local vegetations on forest. Well, mostly nearby these 'urbanities'. 
But that's basically smtgh one may also notice, from by places to places happening. ; Basically (of strictly 'thinkin about' that) my variety garden hobbies, or vegetations actually might 'advance' the similar change. – Even if the inhabiting neigbourhoods, in general, rather lot being for the human 'converted' on what comes to the nature of the surface vegetations, the soil. (Smtgh that I think for, obviously, to enworsen those 'climate effects'. But from it's total 'scope'...a more 'complex', multisided an issue.) ; But from hence also originate my these few now efforted means from add some native plant at the vegetative plentitude by garden. Only needs (a little) planning from. Bees and other insects will be thankful (caterpillars...? Oh no, save us from their 'invasion'...) – Despite that humans then not so much from tended appreciate.

(Pic) ; ...The Oregon Grape (Mahonia aquifolium) from my garden also seemed to now gotten on make some flowers, of had 'skipped' that on a last year. (I had changed the place for it, by the preceded Autumn.) Now seems more slow emergin', it just got from slight colder once that had started to make those...(Not of any 'hurry', from now...)

 

; ...On that (above) mentioned riverside where noticed those, there a number other to our local deciduous trees were also rapid for to the flowering, 'foliaging'; Aspen, the Bird-cherry, even Alders...

(Yet, that human nitrogen-overflow undoubtedly (probably, :) a largest factor on causing the said changes here, 'generally'. 'Cause it by some longer 'accumulade' now, actually, than the more often present noted climate 'variations'. It also likeliest does from affect to diminish the plant variety for these 'semi-urbanhoods'. ...As most of the plants still relative well tolerate some amounts warm, but most strive to less 'luxurious' at the soils which are at first 'enriched' and then 'enpoverished' via that effect, manner. Confusing? Not at all, just look on any roadsides, for the overmuch enfertilized fields only little from this botanical perspective in mind/with the eyes of a botanist.

[; 'Also' by the same  (G.U.J.)]

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; PICS:  Details/sources to all, mentioned on the text. ; (Plant) photos - by the writer.
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